Saved by Penny Byrne
Truffaut’s original article, after all, was addressing the artistic, industrial, and political arguments within World War Two French cinema.
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This was the basic reason for creating the star system, and nurturing it throughout Hollywood history.
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The ‘star system’. Hollywood figured out people would go to theatres to see specific actors
The typical film director probably falls somewhere in between the extremes; Stanley Kubrick, Alfred Hitchcock, and David l ynch are examples of auteurs , because their impact on the work is so profound that it becomes a kind of psychic extension of themselves.
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Because of their profound, intentional, impact on the work
Truffaut went on to as-sert that only those movies where the director gained control over the produc-tion—and was able to see to it that his or her artistic vision fully informed the production process—could be considered distinguished as cinematic art.
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Set off auteurism. auteurism is when a director takes control over production and makes all creative decisions to see his or her aetistic vision through
star system
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Star system
the brief duration of auteur celebrity these days parallels the rapid turnover of postmodern consumer-ism.” 42
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Connection between postmodern consumerism and the auteur as a celebrity
basis of predicting that audience’s expectation
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‘Any film must be sold to an audience on the basis of predicting that audience’s expectation.’ [for analysis] what was the expectation then? for each of these films and how were they communicated alongside the actual story?
For example, there is a unique market that may predict attendance by devotees for any new Martin Scorsese film, any new David l ynch film, or any new Ethan and Joel Coen film, just as historically the motion picture industry planned and relied on the presumed marketability of any new movie with a particular actor or actress.
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From actor/actress as selling point – to film director auteur as a selling point – now I personally think it’s going back to actor/actress
the question about creative control over the fi-nal film that reaches the screen
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is ‘at the heart of the question about the commercial art of the movies’